Sunday, August 12, 2012

Sarah Bennett’s Article on the Irish Avant-Garde

A proto-avant-garde Irish poet

Sarah Bennett has published an interesting article on
contemporary Irish avant-garde poetry in the online journal Wave Composition. Titled “Love, Sorrow and Joy: Aubade for the Irish Poetry Avant-Garde,” the article traces the development of Irish experimental/avant/non-mainstream
Irish poetry from MacGreevy though Devlin and Coffey, through the Sixties (The Lace Curtain journal and New
Writers’ Press), through to the turn of the century and Wild Honey Press, up to
the present. I’m glad to see this, and it
reminds me of the kind of work I have engaged in myself, with The Burning Bush and in an essay I wrote a
number of years ago now (“The Ancients Have Returned Among Us: Polaroids of 21st C. Irish Poetry”) in the Louis Armand-edited Avant-Post anthology, that is similar to Bennett’s (I don’t imagine she’s seen it, though, so not to suggest she is in any way influenced by it). Bennett references me in her article
as “Poet, blogger and critic Michael Begnal, committed to the promotion of
experimental writing in Ireland.
. .”, and I am flattered.

It’s also nice to be kept up to date — I was not aware of
Graham Gillespie’s collection Love, Sorrow and Joy (which is grandiosely
subtitled “A New Voice in Irish Avant-Garde Poetry” and, strangely
for a first collection, includes an interview with the author himself) (this
book being the source of Bennett’s ironic title). Bennett criticizes it as conservative and
notes that “It’s difficult to conceive of an avant-garde — Irish or otherwise —
in which Gillespie could rightly be accommodated.” I can’t comment on this, as I’ve yet to read
the book, but I’ve always been a fan of such critical jousting, and it will be
interesting to see for myself.

Bennett rightly attacks Fintan O’Toole’s assertion that the work of Paul Durcan represents “an
instance of the Irish avant-garde breaking into the mainstream.” Durcan has never been an avant-garde poet,
and personally I find his alternately jokey/cranky speaker persona to be merely
irritating. But, that is just my
opinion. Bennett, in any case, is percipient in observing the difficulty, due to socio-historic circumstances, in even approaching the mainstream v. avant-garde debate in Irish literature.

Debates on the definition of “avant-garde”/“experimental” writing rage
continually. Bennett briefly delineates a number of other critics’ positions, seeming to gravitate toward Alex Davis’s. Still, I always wonder if a more specific critical context is necessary in a
piece such as this —
might she venture her own definition of the Irish avant-garde? But then,
arguing for this definition over that could be an article unto itself, perhaps
a book, and so in this case I like that Bennett just gets on with it, knowing that we get her drift, and
engages with the work in a way that reminds us why we ought to read and keep reading
it.